Bullz-Eye Blog » Ashley Madekwehttp://blog.bullz-eye.com
men's lifestyle blog, blog for guysTue, 31 Mar 2015 12:44:56 +0000en-UShourly1http://wordpress.org/?v=4.1.1The Light from the TV Shows: Chatting with the Cast of WGN’s ‘Salem’http://blog.bullz-eye.com/2014/04/29/the-light-from-the-tv-shows-chatting-with-the-cast-of-wgns-salem/
http://blog.bullz-eye.com/2014/04/29/the-light-from-the-tv-shows-chatting-with-the-cast-of-wgns-salem/#commentsTue, 29 Apr 2014 18:38:38 +0000http://blog.bullz-eye.com/?p=36135For years, WGN has been a network that’s gotten precious little notice from most cable subscribers outside of Chicago, but in recent years, they’ve been trying to expand their viewership through moves like, for instance, serving as the exclusive U.S. home of the long-running Canadian comedy, Corner Gas. Unfortunately, that didn’t turn out to be the ratings-grabber that they’d hoped it might be, but things are on the upswing now that the network has branched out and begun their own original programming, kicking off their new roster with the supernatural period-piece drama Salem.

Bullz-Eye was invited to visit the set a few weeks back, and we were amazed at how well they’ve captured the look and feel of the era, but we were a little bit thrown when we discovered that our interview ops with the cast members were to be done on camera…even if we weren’t going to be using the footage! Still, we had four very nice chats during the course of the day, each featuring two cast members, and we got a bit of insight into how each of them came to join the series, who their characters are, and what we can expect from Salem as the series rolls through its first season.

Xander Berkeley and Tamzin Merchant

Bullz-Eye: Had you both been actively looking for series work when this came about?

TM: That they wanted to hire me. [Laughs.] No, I’m joking. I just loved the script, and I loved the world. I loved that the magic meets history, and…it’s been really cool for that reason.

BE: Xander, you actually had some hesitations about signing onto the series at first.

XB: Well, you know, partly because I have a family, and it’s a long way away, so I was a little concerned on that front. My wife (Sarah Clarke) acts and works a lot, and there were certain projects that were pending for her, and we can’t both be away. So those were the only real concerns. The script was spellbinding from day one, and the project is awesome. I’m so glad to be part of it.

BE: Can you talk a bit about the character of Anne?

TM: Anne is a freethinking, forthright, curious young woman who isn’t satisfied by being told to sit down and shut up, as a Puritan young woman should. So she has questions that she wants answered, and no one is really very willing to her about them. So I think in the beginning we meet her as a young woman on the cusp of womanhood, and on the cusp of answers, hopefully. Well, as we go through the first season, I think she’s getting closer to the answers. About who she is as much as about who everyone else is.

BE: And Magistrate Hale, in a nutshell?

XB: It’s hard to put him in a nutshell. He’s a very complicated, torn character who has allegiances in both camps. He’s a magistrate, a representative of the law, and a selectman, a town leader among the Puritans. But he has a family background in the pagan world, and he’s having to balance these two worlds at a time when things are going into extreme high-gear conflict.

BE: Tazmin, you seem to have somewhat of a penchant for period pieces…or, at the very least, you seem to have more of a history with them on your filmography than anyone else in the cast.

TM: Is that true? [Laughs.] Well, I was told once that I have a period face, which I wasn’t quite sure how to take, but…I think period has a penchant for me, rather than me having a penchant for it. As I say, I’m just constantly surprised and delighted when someone wants to hire me, but I’m always honored to be cast in a project that I’m interested in. So, yes, I guess I have done a lot of period drama. There’s so much in England. I mean, I’ve been out of a corset about three times, I think! But it’s great to do something new – this is my first job in America, and it’s also my first job in a witchcraft kind of realm, which is really exciting. So although I am visiting period again, it’s with a whole new slant, which is really cool.

BE: How has it been to work on the series? Based on the pilot, it looks like it’s going to be a pretty wild, intense ride.

TM: It is! It’s an intense show to work on, because the subject matter is quite dark and dangerous. But, you know, people’s passion… Everyone from the background artists to Joseph Pile to Michael Goye and the guys who designed the set and built it, everyone has passion to see this project to succeed and be everything that it can be. So that is really energizing and great.

XB: Yeah, I’ve known Adam Simon – the progenitor, the guy that had the concept in the first place and is one of our writers and executive producers – for…28 years? Something like that. Since I did The Necromancer’s Wife, his USC student project. I love him dearly. We both waited until later to have kids, so our first kids were born two weeks apart. So I’m thrilled for Adam, because I think he’s one of the most talented, intelligent, lovely people out there. He’s been toiling in the mines of screenwriting and doing a lot of other stuff, but this magical world that he’s created for Salem is a reflection of 30 years’ work in a particular direction. The folklore, the history, and the black arts in general have obsessed him, he knows more about it than anyone around, and he’s passionate about bringing the world to life. And the timing couldn’t be better, really, because we’re tired of vampires and zombies, aren’t we? [Laughs.] I’m kidding!

Seth Gabel & Ashley Madekwe

Bullz-Eye: So were either of you actively looking for a series when this opportunity came about?

Ashley Madekwe: I’m always actively looking to pay my rent.

Seth Gabel: [Laughs.] Yeah, I mean, I was hungry for something I could really sink my teeth into, and this was the best thing.

BE: And you’d actually just come off doing a pilot that was equally spooky: Gothika.

SG: Yeah, and with Janet Montgomery, too!

AM: That’s weird!

BE: Could you each talk a bit about your characters? Starting, I guess, with Cotton Mather.

SG: Cotton is a reverend, a theologian, a scientist, a witch hunter, and a hypocrite. He’s charged with finding the witches in Salem, but at the same time, as he’s searching with these demons around him, he has to confront the demons within himself. And by having that conflict within himself, he just needs some kind of outlet to feel like he’s alive, so he turns to drink and prostitutes and all kinds of stuff.

BE: You actually had probably the most background to go on, as far as characters go. Did you do a lot of deep research?

SG: I did! Cotton Mather was very prolific with his writing, so I was able to get a view inside of his head, and what I found was that he was curious about the world. He was curious about nature and the frontiers of science and philosophy. And that’s something I wanted to give to the character: he’s in this oppressive, puritan, fundamentalist regime, but at the same time he’s a man of reason and is questioning all of those things…and questioning his own nature. So he’s kind of tortured by what he’s discovering and what he’s finding, but at the same time there’s a glimmer of hope that perhaps there is a better way. And I feel like the John Alden character brings that out in him.

BE: And your character, Ashley?

AM: Tituba is Mary Sibley’s servant to the outside world. Behind closed doors, Tituba couldn’t be further from a servant. She doesn’t do any cleaning. [Laughs.] She is the catalyst for Mary in joining the hive of witches, and historically Tituba was the first person accused of witchcraft, and she admitted to it…willingly, I guess. And she accused others. But she wasn’t tried for her crimes, and she wasn’t hung and wasn’t imprisoned. She kind of walked free. So there’s that mysterious element: we don’t really know what happened to Tituba after that. In our story, Mary and Tituba are working toward the Grand Rite.

BE: The series is pretty intense, just based on the early episodes. Did you anticipate that, based on the script, or did it turn into something more once you actually saw how it played on the screen?

SG: Thankfully, it became even more intense. I mean, I felt like when we put it on its feet, the stakes got even higher, which I was glad about. You always have concerns when you go into a show. “Okay, that’s what’s on the page, but are the network and the studio really going to be willing to go there?” And with this, we found that not only was there support to push the envelope, but we found that on the day we were able to take it even further, but also do it from a place of truth, and things being driven from real circumstances and motivation and relationships between the characters and the set pieces of what’s going on in the story.

AM: I enjoy telling the story that we have, and I felt really pleased by how the pilot turned out. Sometimes when you read a script, it doesn’t… The realization isn’t everything you thought it could be. But I thought it was everything it could be and more. If anything, it was darker.

BE: You’re still filming the scenes, but you’ve done a few episodes at this point. How have you felt about the evolution of your characters thus far?

AM: I’m really excited by it. I think that the pilot gives a good insight to where Tituba is and into Tituba and Mary’s relationship is, and we go even further with that. You see it develop more, you get a real sense of these two women being empowered by the things that they’re doing and the sensuality behind their magic and the lust they have for the Grand Rite. I think that you get a real sense of that, and I’m really happy with the way the writers are telling that story.

SG: I think that if the Cotton Mather of Episode One were to meet the Cotton Matthew of Episode Nine, which is what we’re filming right now, he would be shocked at how different he is and has become. It’s closer to his true nature, but I think he would be surprised by how different he’s become.

BE: When the series wraps for the season, is it going to be a terrible cliffhanger?

AM: We don’t know! [Laughs.]

SG: We don’t know yet. We’re kind of along for the ride. Fortunately, we trust the writers, because they do such a great job week to week. But, yeah, we’ll be as surprised as everyone else!

AM: I love that, at the each episode, there has been lots of… [Gasps.] …moments for me in reading it. Even though I’m in it, I still have those moments. I feel like they’re really good at kind of keeping us dangling at the end of each episode…so I can only imagine what they’ll do at Episode 13!

Iddo Goldberg & Elise Eberle

Bullz-Eye: When this came about, were you both actively looking for series work, or was it just intriguing?

Elise Eberle: It was completely intriguing.

Iddo Goldberg: Yeah, the first episode read so… I mean, it was…

EE: A page-turner.

IG: Yeah, I mean, it was so fun to read. You know, a lot of the stuff you get, by, like, Page 12, you start flipping to Page 13, 14, 15…

EE: You’re, like, “Where’s my part?”

IG: [Laughs.] No, I mean, you’re just looking at the page numbers. But this just moves. [Snaps fingers.] And it moves from the word “go.”

EE: It’s exciting!

IG: And I feel like so many of the characters really jump off the page, and you really get to discover people’s afflictions and traumas, what they’re going through and what they want to achieve. I think the pilot, the first episode, really engages people. I think it’s going to be very challenging to watch the first episode and not to be intrigued to come back and see what happens in the second.

BE: Having seen the first episode, I would agree with that.

EE: [Claps hands.] Yay!

IG: That’s great to hear.

BE: It’s very intense.

EE: It is intense!

BE: In fact, I was curious: was it more intense when you actually watched it than you’d been expecting when you originally read the script?

EE: Yeah! I mean, there’s a lot of moments in that script where you sort of just read through it, you play through it, and…

IG: You’re hoping that they’re going to encapsulate that, but…

EE: Yeah, you’re, like, “Okay, well, I hope they will.”

IG: Unfortunately, many times you do see that in scripts, but they don’t get what’s on the page onto the screen. And when we watched the first episode, I was just, like, “Yes! They got this right!”

BE: So can you each talk a bit about your characters, describing them in a nutshell?

EE: Well, I play Mercy Lewis, who is the mysteriously afflicted young girl who also happens to be the reverend’s daughter. So she’s a very pure and innocent young girl, and she’s the one who basically initiates the hysteria. She causes a commotion, as it were. [Laughs.]

IG: My character, Isaac, gets shamed and alienated, and he carries this shame and guilt with him, and…I feel like he desperately wants to be involved in what will hopefully one day save Salem, because he thinks it will rid him of the shame that he carries.

BE: Over the course of the series, is there considerable evolution to your characters? Were you happy with the way they moved along?

EE: Oh, my God, I was just saying, actually, how both of our characters… When you see the first episode, you have no idea where our characters are going to go, and… I mean, I can say at least for me that it evolves to somewhere where I just never anticipated! [Laughs.]

IG: I think that as well. My character’s really considered to be a heathen in society, and just to be around these important, powerful people within that society, I don’t think he ever would’ve expected to be involved in such a way. And he’s in contact with these people on a regular basis now, and I think there was no way he could’ve expected that. And I’m thrilled with that.

BE: Were there any challenges to the period-piece aspect of the series?

IG: Well, you know, you’re always trying to… It’s very hard to play a period, and it’s very hard to play the magical and mysticism element of it. I think that, as an actor, you really just want to play the emotional journey of the character.

EE: But you have to authenticate the time period as well, and I think to sustain that…well, I think just the clothes are a help to that as well, just with the posturing.

IG: Yeah, from an external point of view, you have the props, the costumes, and the like. But internally, I can only play what he’s going through.

Shane West & Janet Montgomery

Bullz-Eye: So when this opportunity came out, were both or either of you actively looking for a series?

Shane West: I wasn’t actively looking for a series at the time. I was on a series. [Laughs.] But we knew that it was the final year. We had that luxury of knowing that we were going into the final year, so we… You know, I was kind of looking at everything – film projects, television projects – but I wasn’t sure if I wanted to jump into something new so quickly, in the same year I was finishing something else. But when this script came across my path, it was hard to say no. I was very intrigued with it right away.

Janet Montgomery: I think there’s a new wave of young actors, especially, for whom it’s all about story, whether it’s theater, television, or film. So I wasn’t actively looking for any particular outlet, just a good story, really. So, yeah, I read the script and I liked it.

BE: Had you been looking for something spooky? Because I know you and Seth had just done the pilot for Gothika.

SW: Yeah, we did that! I mean, that’s… I kind of was veering towards that only because there’s so much reality TV that I can see the appeal of it, and I wanted to be able to take people out of their everyday life. And if you’re doing a scripted show, you want to have an edge on all the reality TV shows that people are so obsessed with right now, so I feel like that’s why fantasy and period pieces have become quite popular.

BE: Could each of you talk a bit about your characters in a nutshell?

JM: In a nutshell, I am Mary Sibley, and I play a witch. [Laughs.]

SW: John Alden, he is a nutshell. [Laughs.] No, John, he is…

JM: A troublemaker.

SW: We’re both troublemakers! [Laughs.] Well, as we get to know him as the series starts, John is a war-hardened veteran that comes back into town, sees that the love of his life has moved on without him.

JM: I waited, like, a good year, all right?

SW: I was going to say that, like a fool, he expected her to wait for him, like most men would, I guess.

JM: He was gone for seven years!

SW: That’s nothing!

JM: I mean, could you imagine? Imagine breaking up with someone, and they go away, and then seven years later they turn up and go, “Hey, wanna try again?”

BE: It’s inexcusable.

JM: You’d be insulted, right?

BE: Absolutely I would, yes.

JM: And then you just hop into the bedroom, ready to go again…

SW: What’s seven years? [Laughs.]

BE: So how close to reality does your John Alden hew to the John Alden of historical record?

SW: There’s a lot. But there’s a lot of things, also, that are missing. I mean, he’s one of – I believe, but I may get this wrong – nine children…

JM: [Making loud buzzing sound.] Wrong! It was seven!

SW: [Laughs.] It may be! It would be interesting to see where they are in this world, but obviously that’s not important to our story. He also ends up fathering 14 children to…

JM: [Incredulous.] 14 children?

SW: …to you. Did you know that? [Laughs.]

JM: Not likely!

SW: No, I’m just kidding. But he did father 14 children. We haven’t, of course, crossed that bridge yet.

SW: That’s why women had so many children. But him coming into town, leaving town, coming back, witnessing the Salem witch trials, that’s all very accurate.

BE: How surprised were you with the intensity of the pilot onscreen versus how it had played in the script itself?

SW: It’s a pleasant surprise. Reading the script… I have a very active imagination, and it was very visual, so you hope – especially in this world, in this genre – that it can look the way you can imagine it. And to me it really did. I think the scene that stood out for me when I was working was when John Alden and Isaac were in the forest and witnessed the orgy of black tar and bodies and things like that. That was better than I could’ve imagined. That was an exciting viewing.

SW: I haven’t watched it. I’ve sort of debated it, and I am really curious, but it’s really difficult for me when I’m still working on this season to watch it, because I get so scared that maybe I won’t like it…and then I’ll have to go back to work and face everyone! [Laughs.] I just think, you know, it is so personal when you see yourself onscreen that it can be quite frightening, and if you’re not in the right frame of mind… A lot of actors feel this way about watching themselves. And I don’t want it to ruin how much fun I’m having! So I don’t want to watch it yet. I just like hearing that it’s good.

What the network says: “You can’t get manlier than Mike Baxter. He loves to have adventures while he’s traveling for work and, of course, he drives a pick-up truck. But Mike is about to find out that it’s not a man’s world anymore. While he might be king of the hill at work at an iconic outdoor sporting goods store, he’s the odd man out in a home dominated by his wife and three daughters. Today it’s a woman’s world, and this man’s man is on a mission to get men back to their rightful place in society. After being a stay-at-home mom for years, Mike’s wife, Vanessa, recently returned to the workplace and was quickly promoted — much to the dismay of her primarily male co-workers. Now that Vanessa’s work load has increased, Mike is pulled into more hands-on parenting than ever before. With things turned upside down at home, Mike’s last bastion of sanity – work – gets hit by change as well; his long-time boss and friend, Ed, announces that he’s grounding Mike from their catalogue’s international photo shoots and putting him in charge of the company’s webpage. But while adjusting to this new role, Mike discovers that the Internet might actually provide him just the outlet he needs, a platform that gives him a voice to appeal to those who agree that manliness is under assault, and a pulpit for his opinions about feeling like the last real man in a woman’s world. After all, men built civilizations, invented the locomotive and created ESPN, and Mike Baxter is determined to do what he must to reclaim his manly place in his home and at his job.”

What we say: It’s kind of hard to criticize “Last Man Standing” for having almost exactly the same mainstream manly-man tone as “Home Improvement” when Tim Allen freely admits that it’s something he’s making a conscious effort to re-stake his old territory. You can, however, criticize the series for not being very funny. Sure, it’s funny in a Tim Allen kind of way, but…oh, this way lies madness, so let’s just cut to the chase: basically, if you like broad comedy about a guy’s guy who’s annoyed with the fact that his brand of man is a dying breed, then you’ll like this show. I laughed a couple of times, but as I am not now nor have I ever been a guy’s guy, I walked away with little or no interest in ever watching another episode…which, come to think of it, is almost exactly the way I’ve always felt about “Home Improvement.” Based on this info, you can probably make your own judgement call as to whether or not you’ll have any interest in tuning in.

What the network says: “Three modern male archetypes struggle as they search for their identities and try to prove that ‘real men’ really can use hazelnut creamer. Meet Will. Will’s grandfather fought in WWII. Will’s father fought in Vietnam. Will plays Call of Duty on his PS3 and drinks non-dairy hazelnut creamer. So what happened to all the real men? They’re still here — they just smell like pomegranate body wash now. Will’s evolved, sensitive nature is why his awesome wife, Theresa, married him. But he and his friends find themselves wondering… In a world of Axe ads and manscaping, what does it really mean to be a guy anymore? Will is more interested in finding the perfect gift for his son Nathan’s 13th birthday than in doing his job selling insurance; sensitive soul Craig still pines for his college ex, Lisa; and Kenny clamps down on his anger and asks himself, ‘What would Tobey Maguire do?,’ when his ex, Bridgette, starts seeing a guy who is everything he’s not and much better looking. After Craig crashes Lisa’s wedding to try to win her back, all three are faced with an opportunity to ‘man up’ and be like their forefathers.”

What we say: I swear it’s not because the lead character’s name is Will, but…I actually like this better than “Last Man Standing,” even though it’s ultimately covering a certain amount of the same ground. I think you can probably attribute that to executive producer Victor Fresco, whose presence always guarantees that the series won’t be 100% commercial. Speaking of ground that’s already been trod upon, there’s also an undeniable similarity between “Man Up” and Fox’s late, lamented mid-season series “Traffic Light.” (That’s not a bad thing for me, though, as I loved the series.) As for the cast, there are really only two matinee names: Teri Polo, of the “Meet the Parents” franchise, and Dan Fogler, who’s one of those guys who can take things so far over the top that he presents a major love-him-or-hate-him vibe. It must be said, though, that he pulls the majority of the biggest laughs in the pilot. As far as putting this alongside “Last Man Standing,” I don’t know if that’s a great move or not, since the similar premises will likely viewers to suspect that if they don’t like one, then they won’t like the other, but it’s not true: “Man Up” may not be spectacular, but it’s ten times funnier than its lead-in.

What the network says: “Single father George only wants the best for his 16-year-old daughter, Tessa. So when he finds a box of condoms on her nightstand, he moves them both out of their apartment in New York City to a house in the suburbs. But all Tessa sees is the horror of over-manicured lawns and plastic Franken-moms. Being in the ‘burbs can be hell, but it also may just bring Tessa and George closer than they’ve ever been. Tessa and George have been on their own ever since Tessa’s mom pulled a ‘Kramer vs. Kramer’ before Tessa was even potty trained. So far George has done a pretty good job of raising Tessa without a maternal figure in their lives, but suddenly he’s feeling a little out of his league. So it’s goodbye New York City and hello suburbs. At first Tessa is horrified by the big-haired, fake-boobed mothers and their sugar-free, Red Bull-chugging kids. But little by little, she and her dad begin finding a way to survive on the clean streets of the ‘burbs. Sure, the neighbors might smother you with love while their kids stare daggers at your back, but underneath all that plastic and caffeine, they’re really not half bad. And they do make a tasty pot roast.”

What we say: I’m a sucker for smartly-written sarcastic teens on TV, and I’m also extremely partial to redheads, so when you put the two together, it’s like shooting fish in a barrel to sell me on the resulting series. I was skeptical at the idea of seeing Sisto in a sitcom, given that I’m used to seeing him in series like “Law & Order” and “Kidnapped,” but he’s surprisingly effective as a teenager’s dad…though, come to think of it, given how dramatic most teenagers are, I guess that kind of stands to reason…and Tudyk, Lee, and particularly Hines also prove strong in their respective roles. The real find, though, is Jane Levy, who – and I want you to understand that this is intended a supreme compliment – comes across as the Emma Stone of the small screen. Based strictly on the pilot, I think this is probably my favorite sitcom of the new season, and it would seem on the surface to be a perfect fit with “The Middle.” Here’s hoping ABC has finally found a new Wednesday show that viewers will embrace.

What the network says: “Emily Thorne is the newest arrival in the Hamptons this summer. By all appearances, she’s a friendly and sophisticated ‘girl next door,’ whose disarming charm and generosity allow her seamless access to the restricted circles of Hamptons high society. But the affluent, exclusive world she’s immersed herself in is tied to a dark family history, and Emily Thorne is anything but what she seems. When Emily was just nine, her father was framed for a horrific crime by neighbors he trusted, and was sentenced to life in prison. Emily never saw her father again and spent her childhood consumed by rage, loss and betrayal. 17 years later, she has returned under an assumed identity with one endgame – REVENGE — every social overture a carefully planned chip at the foundation of her sworn enemies, until their lives come crashing down around them. Emily’s goal is unwavering, and her sharp mind is always five steps ahead. But when her past begins to catch up, her true heart may get caught in the crossfire.”

What we say: The first thing you’ll find yourself thinking about this series is, “How is it that this ended up on ABC rather than The CW?” Because, seriously, I don’t think it could feel more like a CW series if it tried. As a result, when attempting to offer a critical assessment, the words “guilty pleasure” immediately leap to mind…not that there’s anything wrong with that. Emily Van Camp – well remembered from her work on “Everwood” and “Brothers & Sisters” – seems to be having fun playing decidedly against type, and Madeline Stowe is clearly having a blast as the series’ resident bitch. The big question, though, is why ABC is putting it on at 10 PM, when a great deal of its demo is likely to be asleep. (It airs on a school night, you know.) The only possible explanation is that they’re taking a risk and seeing if viewers might be willing to set aside their love for wounded warhorses like “CSI” and “Law & Order: SVU” and try something new. Hey, you never know, it could pay off…

Thursday

Charlie’s Angels

(8 – 9 PM, Sept. 22)

The competition: The Big Bang Theory / How to Be a Gentleman (CBS), Community / Parks & Recreation (NBC), The X Factor (Fox), The Vampire Diaries (The CW)

What the network says: “Everyone deserves a second chance — even a thief, a street racer and a cop who got in a little too deep. After all, the three women who solve cases for their elusive boss, Charlie Townsend, are no saints. They’re angels… Charlie’s Angels. There’s Abby Sampson, a Park Avenue princess who became a world-class thief. Then there’s Kate Prince, a Miami cop who fell from grace, losing both her career and her fiancé. Finally there’s Gloria, a disgraced army lieutenant who has a way with explosives. When one of the angels’ missions ends in Gloria’s tragic death, Charlie persuades them to partner with Gloria’s childhood friend, Eve, a street racer with a mysterious past. They may not know each other yet, but one thing’s for sure — Abby, Kate and Eve will always have each others’ backs. The angels are rounded out by Bosley, a hot, young computer hacker who helps them solve cases and enjoys being surrounded by powerful, beautiful women.”

What we say: When it comes to new series and their eventual fate, this is probably the hardest to predict. On one hand, it’s a familiar property remembered fondly by children of the ’70s, which worked out well with “Hawaii Five-0.” On the other hand, when they tried it with “The Bionic Woman,” look what happened there…but, then, “The Bionic Woman” wasn’t turned into a relatively successful film franchise like “Charlie’s Angels” was. Cast-wise, you’ve got a recognizable face in Minka Kelly, but her biggest claim to fame is “Friday Night Lights,” a series that was never watched by nearly as many viewers as it should have been. Y’see what I mean? It’s really hard to say how audiences are going to react, especially given that it’s going to be up against the second night of “The X Factor” and the established comedy blocks on CBS and NBC. I will say, however, that the pilot is played straight, with very little of the winking at the audience that seemed to be going on in the feature films, and if you’re a TV geek, that’s actually kind of intriguing. Plus, it’s full of action and, lest we forget, three ladies who are decidedly easy on the eyes. Worth checking out, but whether it succeeds for the long haul is too close to call.

What the network says: “A modern fairytale with thrilling twists and hints of darkness, brimming with wonder and filled with the magic of our most beloved stories. And they lived happily ever after… or so everyone was led to believe. Emma Swan knows how to take care of herself. She’s a 28-year-old bail bondsperson who’s been on her own ever since she was abandoned as a baby. But when Henry — the son she gave up years ago — finds her, everything changes. Henry is now 10 years old and in desperate need of Emma’s help. He believes that Emma actually comes from an alternate world, and that she’s Snow White and Prince Charming’s missing daughter. According to his book of fairytales, they sent her away to protect her from the Evil Queen’s curse, which trapped the characters of fairytale world forever, frozen in time, and brought them into our modern world.

Of course Emma doesn’t believe a word, but when she brings Henry back to Storybrooke, she finds herself drawn to this unusual boy and his strange New England town. Concerned for him, she decides to stay for a while, but she soon suspects that Storybrooke is more than it seems. It’s a place where magic has been forgotten — but is still powerfully close — where fairytale characters are alive, even though they don’t remember who they once were, and where the Evil Queen, known as Regina, is now Henry’s foster mother. In order to understand where the fairytale world’s former inhabitants came from, and what ultimately led to the Evil Queen’s wrath, you’ll need a glimpse into their previous lives to learn their origins. But it might just turn everything you’ve ever believed about these characters upside-down. Meanwhile, the epic battle for the future of all worlds is about to begin. For good to win, Emma will have to accept her destiny and fight like hell.”

What we say: You wanna talk about a series destined to break your heart? That’s what “Once Upon a Time” is. There’s usually at least one show per season that’s so creative and imaginative that it leaves you thinking, “Maybe broadcast network creativity isn’t dead after all.” And, of course, it usually takes about three episodes – sometimes less, sometimes more, but almost always immediately after the episode where you decide that you’re hooked on the show – for the network to cancel it. It’s odd that two fairytale-themed shows should turn up at the same time, but while NBC’s take on the concept (“Grimm”) is more of a police procedural, “Once Upon a Time” embraces the fantasy, turns it slightly dark, and the result is an hour of fascinating fun. Truth be told, if only one series ends up making it out of the season alive, I’d bet on “Once Upon a Time,” if only because it’s the only series of its ilk in the mix on Sunday nights. Let’s hope I’m right, because I’m really digging what I’ve seen thus far.

What the network says: “Welcome to the Jet Age. It’s 1963. WWII and Korea are history. A new kind of war, a Cold War, is underway. The world is poised on the brink of a cultural revolution, and everywhere change is in the air. In this modern world, air travel represents the height of luxury, and Pan Am is the biggest name in the business. The planes are sleek and glamorous, the pilots are rock stars, and the stewardesses are the most desirable women in the world. Not only are these flyboys and girls young and good looking, but to represent Pan Am they also have to be educated, cultured and refined. They’re trained to handle everything from in-air emergencies to unwanted advances – all without rumpling their pristine uniforms or mussing their hair. These pre-feminist women form a powerful sisterhood, as they enjoy the rare opportunity to travel outside the country — something most women in this age can only aspire to – and one of the few career options that offers them empowerment and respect. In their individual quests for adventure, the Pan Am crew face both opportunity and peril, as they juggle their lives, their loves, their hopes and dreams while flying around the world to glamorous international cities like Paris, Berlin, Jakarta and Monte Carlo. Welcome aboard, and fasten your seat belts… Adventure awaits!”

What we say: Once again, we find ourselves with a case of parallel evolution between ABC and NBC, and once again ABC wins the round…or, at least, that’s my feelings on the matter, anyway. It’s clear that both “Pan Am” and “The Playboy Club” are cut from the same cloth, i.e. a broadcast network attempt at reproducing the swinging ’60s, and both are directly wrapped around a specific brand name, but while “The Playboy Club” has one very specific appeal, offering beautiful women in bunny costumes, “Pan Am” provides the fantasy of sexy stewardesses while combining it with the possibility of foreign intrigue in foreign countries. Sure, it’s being set up to be just as much of a melodrama as “The Playboy Club,” but there’s more of a general appeal to “Pan Am.” I realize that, as a guy, I’m supposed to prefer “The Playboy Club” just by virtue of the empire that Hef has built, but…well, I did start out this piece by clarifying that I’ve never been accused of being a guy’s guy.